DOCSLIB.ORG

Egyptianart Architecture, Sculpture and Painting

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Egyptianart Architecture, Sculpture and Painting Egyptian Art Originally created by Mr. Douglas Darracott, Plano West HS Plano, TX Edited by Rachel Buckley Egyptian Architecture Egypt Videos Mastaba Imhotep. The Stepped Pyramid of King Djoser (Zoser), c. 2675- 2625 BCE, Saqqara stepped pyramid mastaba and serdab notes • Step pyramids began with small mastabas • They were considered the Pharaoh’s “stairway to heaven” • 1st known use of columns in history • Imhotep is the worlds first known artist/architect and his name appears at the base of a tomb statue • He was also a physician and magician • He was viewed as the god of medicine and healing and had shrines in parts of Egypt and Nubia The Great Pyramids at Gizeh, 2600-2475 BCE Khufu, Khafre, and Menkaure Notes •The largest pyramid was built for Khufu •It took 20 years to build •It used to have a polished limestone veneer, which made it taller. •The sides of the pyramid are equilateral triangles that face north, south, east, west and line up perfectly with the points on a compass. •The smaller pyramid are for his wives and mother. •The pyramid shape duplicates the suns rays streaming though an opening in a cloud •Khafre’s pyramid is the second smallest and is accompanied by the Great Sphinx •Menkaure’s pyramid is the smallest. The Great Sphinx (Gizeh), c. 2575-2525 BCE, sandstone Sphinx at the Luxor Hotel in Las Vegas, Nevada Notes • 65 feet high • Sphinx means “strangler”, and was first given by the Greeks • The head of a pharaoh and the body of a lion. • There are Sphinxes with Ram heads associated with the god Amun. • The most immense stone sculpture in the round ever made by man. • It is made out of limestone bedrock. Mortuary Temple of Queen Hatshepsut (Deir-el Bahri), c. 1473- 1458 BCE Left: Figure of Hatshepsut enthroned, c. 1470 BCE, limestone Notes • Located on the western bank of the Nile (Thebes)/rock cut temple • One of the most beautiful temples, their were plants on the terraces • Queen Hatshepsut was the stepmother to Thutmose III, who became regent for Thutmose III when Thutmose II, her brother died. • First known female monarch • Many of her portraits were destroyed after her death. • In portraits she appears as a male pharaoh with royal headdress and kilt and sometimes the false beard. • Construction took 15 years • The temple was situated in a valley considered sacred for over 500 years to the feminine goddess connected with the funeral world. Temple of Ramses II (Abu Simbel), c. 1290-1224 BCE figures of king outside the temple figures of king inside the temple (atlantids) and sunken reliefs • Dedicated to the gods, Ptah (the creator god of Memphis), Amun-Re the god of Thebes, and Re-Harakhte the Sun god of heliopolis and Ramses II • The large statues are Ramses II • Cartouches give his name • Smaller sculptures between the legs and at the base of the sculptures represent members of the royal family • Each sculpture weighs almost 2.5 million lbs • Rock cut temple • Visitors see a reconstructed temple that has been relocated to higher ground. • Located on Lake Nasser. Temple at Luxor, c. 1290-1224 BCE Diagram of a pylon facade Hummer at the Luxor Hotel in Las Vegas, Nevada Left: Statue of Ramses II atTemple at Luxor Below: Obelisks at Karnak Left: Aerial view of the Temple of Luxor Below: a drawing of a djed pillar and plan of the temple Notes close to the Nile River Dedicated to Amon-Re King of the gods continuous place of worship until recent times built by king Amenhotep Added to by King Tut and Ramses II once was a Christian and a Coptic church then buried beneath the city of Luxor Then a mosque Sculpture The Palette of King Narmer, c. 3100-3000 BCE, green silt stone Narmer in Hieroglyphics Narmer wears Cow represents the crown of the goddess upper Egypt. Hathor Notes • Maybe the worlds Papyrus oldest historic The pharaoh is represents drawn bigger lower Egypt document to show his • Represents the power. unification of upper and lower Egypt • two sided Dead enemies, represents to • Resembles an eye conquering of makeup palette lower Egypt. but this one is too Servant large to be used Holding the kings shoes… for that says that the • Celebrates king pharaoh has Narmer’s victory divine power. over lower Egypt. Narmer wearing the crown of Lower Egypt Dead enemies of the Pharaoh Taming of wild animals represent the unification of Egypt Bull represents the strength of the Pharaoh Scarab Pectoral from the Valley of the Kings Tomb of Tutankhamun, c. 1325 BCE Materials-Lapis, Turquoise, Gold, and other precious stones Notes: -heart scarab-placed over the heart of the mummy and meant to be weighed against the feather of truth and cast with a spell from the book of the dead -Associated with the creator god Atum -also associated with the sun god Amun-Ra -Scarab was thought to push the sun across the sky -they thought the beetle was born from the Earth Khafre (Gizeh) c. 2575-2525 BCE, diorite Notes: Funerary Statue Diorite stone imported from 400 miles away Statue is a resting place for the KA Was in the pharaoh’s temple near the Sphinx. Horus depicted as a falcon guards the back of his head. Lotus flowers and papyrus represent the unification of Egypt. Tiye (Gurob) c. 1353-1335 BCE, wood Notes • Queen of the 18th dynasty • Married Amenhotep when he was a prince. • The first queen to have her name on official documents. • Controversy about where she came from • Was king Tut’s grandmother. • Originally attached to a bigger video statue Seated scribe (Saqqara), c.2450-2350 BCE, painted limestone -Realistic because he is not a king -eyes are made out of - precious stone and rock crystal/copper clips hold his eyes in -a little belly to show wealth -would have been holding a brush or stylus -meant to only be seen from the front… Video Foot stool notes- -It represents his separation from the earth -his enemies are carved and painted to show his power Thutmose. Nefertiti, from Tell el-Amarna, c. 1353-1335 BCE, painted limestone video Notes • Life size • Found in an artist’s studio • This sculpture was not meant for a tomb, it was the artist’s model for other artwork featuring the queen • Temporary Materials, the eyes would have been inlaid with precious stones • Limestone covered in plaster to make it easier to sculpt. • Perfect Symmetry • Akhenaten’s wife-may have shared power with the Pharaoh • Tiye’s daughter in law • King Tut’s Mom Akhenaton, from the temple of Amen-Re (Karnak), c. 1353-1335 BCE, sandstone -He started a monotheistic religion starring Aten -he started a new, more realistic and less stylized way to create art -more of a portrait Painting Egyptian gylphs symbolizing (left to right) life (the ankh), stability (the djed pillar), beauty, joy, and protection The tomb of Sennefer, c. 1410 BCE (time of Amenhotep II) Notes: -Sennefer and his wife are worshipping god s of the afterlife -the Jackals represent Anubis and are laying on a shrine. They are blue because that is the color of life and rebirth. -Sennefer was the mayor of Thebes -This is tomb is known as the “tomb of the vineyards” because of all the plantlife paintings throughout the tomb. -The hawk headed god Amen –Ra is represented -also the pharaoh who wears the crown of upper Egypt. - Fowling scene from the tomb of Nebamun (Thebes, Egypt), c.1400-1350 BCE, fresco on dry plaster Notes • Nebamun was the pharaoh Amenhotep III’s accountant. • This is a scene of him hunting with his wife and daughter. • He is on a boat with his daughter and she is holding onto his leg. She is looking the other way so she doesn't have to see her dad kill the bird. • They are extremely dressed up like for a family portrait. • There is an Ibis which is a symbol of the god Thoth. • The birds and reeds are bright blue to represent rebirth. • Blue is also a symbol of the Nile. Musicians and dancers from the tomb of Nebamun (Thebes), c. 1400-1350 BCE rare attempt at a frontal pose • From Nebamun’s tomb • Shows a feast in his honor • These are musicians and dancers • There is a tower of wine • It is a rare attempt at a frontal pose Garden of Nebamun (Thebes), c. 1400-1350 BCE Notes • His garden would have looked very similar to this one. • Egyptians had plants and trees imported from other places. • These trees are sycamore fig, date palm and Dom palms. They are shown in different stages of ripeness • Bird’s eye view • On the right of the pool a goddess leans out of the tree offering fruits and drinks to him • Painted in bright shades of blue and green Last Judgment of Hu-Nefer (Thebes), c. 1290-1280 BCE, painted papyrus scroll Video • Maat-goddess of truth, represented by a feather • Hu-Nefer was a scribe • Thoth was the scribe of the gods • Anubis leads Hu-Nefer to Notes- judgement • Pyramid text- • Weighs his heart against a included feather. resurrection spells, • Ammit-crocodile head, lion or charms, passwords, leopard body, hind legs of a and prayers-on hippo would devour the heart if papyrus it was unworthy. • They were • He would also have to memorize individualized for secret prayers and recite them to the owner. Osiris. If he forgot them they were probably inscribed on his coffin. receiving the reward of eternal life The Creation of the Heaven and the Earth, Book of the Dead of Nesitanebtasheru, c.
Load more

Recommended publications
  • The Body Both Shapes and Is Shaped by an Individual’S Social Roles
    UCLA UCLA Encyclopedia of Egyptology Title Body Permalink https://escholarship.org/uc/item/8f21r7sj Journal UCLA Encyclopedia of Egyptology, 1(1) Author Riggs, Christina Publication Date 2010-11-17 Peer reviewed eScholarship.org Powered by the California Digital Library University of California BODY الجسد Christina Riggs EDITORS WILLEKE WENDRICH Editor-in-Chief University of California, Los Angeles JACCO DIELEMAN Editor University of California, Los Angeles ELIZABETH FROOD Editor Area Editor Individual and Society University of Oxford JOHN BAINES Senior Editorial Consultant University of Oxford Short Citation: Riggs 2010, Body. UEE. Full Citation: Riggs, Christina, 2010, Body. In Elizabeth Frood, Willeke Wendrich (eds.), UCLA Encyclopedia of Egyptology, Los Angeles. http://digital2.library.ucla.edu/viewItem.do?ark=21198/zz0025nqg2 1149 Version 1, November 2010 http://digital2.library.ucla.edu/viewItem.do?ark=21198/zz0025nqg2 BODY الجسد Christina Riggs Körper Corps The human body is both the physical form inhabited by an individual “self” and the medium through which an individual engages with society. Hence the body both shapes and is shaped by an individual’s social roles. In contrast to the cognate fields of archaeology, anthropology, and classics, there has been little explicit discussion or theorization of the body in Egyptology. Some recent works, discussed here, constitute an exception to this trend, but there is much more scope for exploring ancient Egyptian culture through the body, especially as evidenced in works of art and pictorial representation. جسد اﻹنسان عبارة عن الجسد المادي الذي تقطنه «النفس» المتفردة، وھو الوسيلة التى يقوم من خﻻلھا اﻹنسان بالتفاعل مع المجتمع. ومن ثم فالجسد يشكل ويتكيف على حد سواء تبعا للوظائف اﻻجتماعية الفردية.
    [Show full text]
  • Egyptian Gardens
    Studia Antiqua Volume 6 Number 1 Article 5 June 2008 Egyptian Gardens Alison Daines Follow this and additional works at: https://scholarsarchive.byu.edu/studiaantiqua Part of the History Commons BYU ScholarsArchive Citation Daines, Alison. "Egyptian Gardens." Studia Antiqua 6, no. 1 (2008). https://scholarsarchive.byu.edu/ studiaantiqua/vol6/iss1/5 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Studia Antiqua by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Egyptian Gardens Alison Daines he gardens of ancient Egypt were an integral component of their religion Tand surroundings. The gardens cannot be excavated like buildings and tombs can be, but archeological relics remain that have helped determine their construction, function, and symbolism. Along with these excavation reports, representations of gardens and plants in painting and text are available (fig. 1).1 These portrayals were frequently located on tomb and temple walls. Assuming these representations were based on reality, the gardens must have truly been spectacular. Since the evidence of gardens on excavation sites often matches wall paintings, scholars are able to learn a lot about their purpose.2 Unfortunately, despite these resources, it is still difficult to wholly understand the arrangement and significance of the gardens. In 1947, Marie-Louise Buhl published important research on the symbol- ism of local vegetation. She drew conclusions about tree cults and the specific deity that each plant or tree represented. In 1994 Alix Wilkinson published an article on the symbolism and forma- tion of the gardens, and in 1998 published a book on the same subject.
    [Show full text]
  • Aspects of Color Choice and Perception in Ancient Egyptian Painting
    Open Archaeology 2018; 4: 173–184 Original Study Meghan E. Strong* Do You See What I See? Aspects of Color Choice and Perception in Ancient Egyptian Painting https://doi.org/10.1515/opar-2018-0011 Received June 5, 2017; accepted December 13, 2017 Abstract: Color in ancient Egypt has been examined through linguistics, anthropological theory and archaeological science. In recent years, attention has focused on the application of art historical theories of reception and perception to ancient Egyptian art, but seldom on color itself. This article will examine aspects of color choice and visual perception, particularly focusing on use of the pigments yellow ochre and orpiment. Building on a growing body of art historical and archaeometric scholarship, it will demonstrate the contributions that experimental archaeology can make to the analysis and understanding of ancient Egyptian painting. Specifically, this study will examine why the Egyptian artist chose specific color combinations by taking into account the original space and lighting conditions of these paintings. Keywords: yellow pigment, art historical theory, aesthetics, visual perception, experimental archaeology, artificial light, darkness 1 Introduction The study of prehistoric and ancient Egyptian art has followed similar trajectories over the past 200 years. From the initial 19th century perception of crude Paleolithic figures as “art for art’s sake”, scholarship has evolved to appreciate the craftsmanship and aesthetic qualities of these pieces, while at the same time considering the environmental, magical, ritual and mundane aspects of Paleolithic art. Examination of ancient Egyptian art had similarly humble beginnings. The first scholar to specifically address the topic, Johann Joachim Winckelmann (1717–1768), suggested that the deficiency in the ancient Egyptian figural form must be due to the unappealing body shape of the Egyptians themselves (Winckelmann, 1764).
    [Show full text]
  • Cyberscribe 162 1
    Cyberscribe 162 1 CyberScribe 162 - February 2009 Because some of the themes match images close to the CyberScribe's heart, he intends to start this column by noting the reopening of a gallery in the British Museum...a gallery dedicated to the masterpieces from the tomb of Nebamun. No one really knows who he was, the location of his tomb has been lost, but the plaster panels preserved in London and a few other places have been recleaned, reconserved and are brilliant in their new surroundings. Thee are quite simply, the best and most recognized of all wall art themes from ancient Egypt. They have been off display for years while they underwent intensive work to assure that they are stable, that the paints will not further deteriorate...and now they have their own gallery. The CyberScribe was permitted to see several of the famous panels while they were in storage...and without their protective glass sheets. They are lovely beyond words...and the CyberScribe knows that he will probably never again have that wonderful opportunity. A few of the photos from that day are appended below. In an article from ' The Guardian' (http://www.guardianweekly.co.uk/?page=editorial&id=879&catID=10) (edited for length here), we learn (from the words of Richard Parkinson, a curator in the Department of Ancient Egypt and Sudan, at the British Museum): "You might think that after 10 years just focused on these paintings from his funerary chapel, I'd feel very close to Nebamun. But in fact we still know very little about him.
    [Show full text]
  • Ancient Egypt: Nebamun
    Ancient Egypt: Nebamun Nebamun hunting in the marshes From Thebes, Egypt Late 18th Dynasty, around 1350 BC Visit resource for teachers Key Stage 2 Ancient Egypt: Nebamun Contents Before your visit Background information Resources Gallery information Preliminary activities During your visit Gallery activities: introduction for teachers Gallery activities: briefings for adult helpers Gallery activity: Nebamun goes hunting Gallery activity: Animals Gallery activity: Find the evidence Gallery activity: What to wear in ancient Egypt After your visit Follow-up activities Ancient Egypt: Nebamun Before your visit Ancient Egypt: Nebamun Background information The wall paintings on display in Room 61 come from an ancient tomb. The tomb was built for an ancient Egyptian called Nebamun, who lived in the city of Thebes around 1325 BC. Nebamun was a scribe in charge of grain collection for the city. The tomb would have been built before Nebamun died as a safe place for his mummified body and some of his belongings, all of which he believed he would need in the afterlife. The tomb was created by cutting rooms, passages and a grave shaft into a rocky hillside on the west bank of the River Nile. The tomb walls were then plastered; firstly with a thick layer of plaster made from mud and straw and then with a thin layer of fine plaster to make a smooth top surface on which to paint. A team of artists would have worked in the tomb, first sketching the outline of the different scenes (which covered all the walls of the tomb) and then painting on the colour and details.
    [Show full text]
  • Hunefer, from His Tomb at Thebes, Egypt, 19Th Dynasty, C
    DEATH and the AFTERLIFE: EGYPTIAN ART (Egyptian Funerary Art) EGYPTIAN FUNERARY ART Online Links: The Book of the Dead – Smarthistory The Egyptian Book of the Dead – YouTube Book of the Dead – Wikipedia Egyptian Book of the Dead Website Book of the Dead - Metropolitan Museum of Art Interactive Animation of Nebamun's Tomb - British Museum The Egyptians did not make the sharp distinction between body and soul that is basic to many religions. Rather, they believed that from birth a person possessed a kind of other self, the ka or life force, which, on the death of the body, could inhabit the corpse and live on. For the ka to live securely, however, the body had to remain nearly intact as possible. To ensure that it did, the Egyptians developed the technique of embalming (mummification) to a high art. Although they believed the god Anubis invented embalming to preserve the body of the murdered Osiris, Egyptians did not practice mummification systematically until the Fourth Dynasty. During the mummification process, the body was treated for 40 days with natron, a naturally occurring salt compound that dehydrated the body. Then the embalmers filled the corpse with resin-soaked linens, and closed and covered the incision with a representation of the wedjet eye of Horus, a powerful amulet (a device to ward off evil and promote rebirth). The Egyptians often placed other amulets within the bandages or on the corpse. The most important were heart scarabs (gems in the shape of beetles). Ti Watching a Hippopotamus hunt, relief in the mastaba of Ti (Saqqara), c.
    [Show full text]
  • Offerings for Nebamun, Fragment of a Scene from the Tomb-Chapel of Nebamun the British Museum
    Offerings for Nebamun, Fragment of a Scene from the Tomb-Chapel of Nebamun The British Museum Thebes, Egypt Late 18th Dynasty, around 1350 BC This is part of the most important scene in the tomb-chapel of Nebamun, and it is painted in a formal style with a white rather than a cream background to make it stand out. The whole scene showed a huge pile of lavish food in front of the dead Nebamun and his wife, with wine and ornate perfume jars. Their son Netjermes offers them a tall bouquet of flowers at the festival of the god Amun, when relatives came to visit the dead. The hieroglyphic captions contain funerary prayers and a list of offerings. Large jars of wine are garlanded with grapes and vines. In many places the green and blue has been lost, since these colours were applied as roughly ground pigments which have fallen away. The food offerings include sycomore-figs, grapes, different shaped loaves of bread, and also a roast duck and joints of meat, which only the wealthy could afford. Traces of red grid-lines are visible in places under the background colour. These lines helped the artists to lay out the figures, but they only used them in this scene because it was the largest and most formal in the tomb-chapel. M. Hooper, The Tomb of Nebamun (London, British Museum Press, 2007) R. Parkinson, The painted Tomb-chapel of Nebamun. (London, British Museum Press, 2008) A. Middleton and K. Uprichard, (eds.), The Nebamun Wall Paintings: Conservation, Scientific Analysis and Display at the British Museum (London, Archetype, 2008) Source URL: http://www.britishmuseum.org/explore/highlights/highlight_objects/aes/n/offerings_for_nebamun.aspx Saylor URL: http://www.saylor.org/courses/arth201 Saylor.org Reposted with permission for educational use by the British Museum.
    [Show full text]
  • A Survey on the Relationship Between the Rank of the Hatshepsut's Officia
    2020 11 Trabajos de Egiptología Papers on Ancient Egypt Trabajos de Egiptología Dos falsificaciones ramésidas y una propuesta de clasificación... Representaciones de deidades ofídicas... Renenutet y Meretseger Miguel JARAMAGO Marta ARRANZ CÁRCAMO Ofrendas en el Inframundo: el Libro de las Doce Cavernas... Las mujeres de la elite en el Reino Antiguo, ¿un grupo social incapaz de actuar? Daniel M. MÉNDEZ-RODRÍGUEZ Romane BETBEZE Cleómenes de Náucratis: realidad, fuentes e historiografía La representación de la danza en las tumbas tebanas privadas... Marc MENDOZA Miriam BUENO GUARDIA Violencia física contra el infante... una realidad o una mala interpretación Choosing the Location of a ‘House for Eternity’... Hatshepsut’s Officials... Ugaitz MUÑOA HOYOS Juan CANDELAS FISAC El acto sexual como agente del (re)nacimiento de Osiris El hrw nfr en la literatura ramésida... Marc ORRIOLS-LLONCH María Belén CASTRO Of Creator and Creation... (BM EA826)... Papyrus Leiden I 350... (BM EA9999, 44) Los himnos Esna II, 17 y 31: interpretación teológica... Guilherme Borges PIRES Abraham I. FERNÁNDEZ PICHEL As serpentes vindas do Médio Oriente nos Textos das Pirâmides... Trabajos de Egiptología Retorno a lo múltiple... la segunda sala hipóstila del templo de Seti I en Abidos Joanna POPIELSKA-GRZYBOWSKA María Cruz FERNANZ YAGÜE Apelaciones, deseos y mensajes para la eternidad... en las estelas abideanas... Más allá de la narrativa... la Segunda Estela de Kamose Pablo M. ROSELL Roxana FLAMMINI A iconografia de Petosíris no túmulo de Tuna el-Guebel El despertar de la “Bella Durmiente”... Museo Provincial Emilio Bacardí Moreau... José das Candeias SALES Mercedes GONZÁLEZ, Anna María BEGEROCK, Yusmary LEONARD, Dina FALTINGS Las estacas de madera de Haraga y la pesca en el-Fayum..
    [Show full text]
  • The Ties Between Hathor and the Weaver Girl（织女）
    The ties between Hathor and the weaver girl（织女） Bohai,Xu Address: Suzhou Industrial Park, Suzhou, China Abstract: On the basis of Hathor as a goddess of love, beauty, Queen of wreath weaving, celestial goddess, the mistress of Heaven, goddess of cheerfulness and maternal care; each year, "Hathor travelled south from her temple at Dendera to visit Horus at Edfu”; one particular Egyptian tale - the 'Seven Hathors'. And on the basis of in Egypt, mirrors were another of Hathor’s symbols; Hathor was praised for her beautiful hair; in the Old Kingdom, most priests of Hathor, including the highest ranks, were women and the only known surviving birth brick from ancient Egypt is decorated with an image of a woman holding her child flanked by images of Hathor and so on, so I can get a hypothesis that the weaver girl(织女)is probably Hathor in China. Hathor (Het-Hert, Het-Heru, Hwt-Hert, Hethara), meaning "House of Horus [the Elder]", was a goddess of many things, from the celestial to the alcoholic! She was a celestial goddess, The Mistress of Heaven. A goddess of love, music and beauty as the Goddess of Love, Cheerfulness, Music and Dance. Hathor was known as the Mother of Mothers and the Celestial Nurse who presided over women, fertility, children and childbirth. Yet Hathor was also a goddess of baser things - she was the Vengeful Eye of Ra, the Lady of Drunkenness, and a goddess of the dead as Lady of the West. As Lady of the Southern Sycamore, the sycamore was sacred to her.
    [Show full text]
  • Egypt's Greatest Tomb Paintings
    S T Y L E 生活時尚 15 TAIPEI TIMES • WEDNESDAY, JANUARY 7, 2009 [ ART JOURNAL ] Bullets CONTINUED FROM P14 She says she has to use her body “to help the audience overcome the fact that they are watching Michelle Yeoh — I have to rid myself of my usual mannerisms, my usual way of moving and behaving, so that they see only the role, and don’t think of, say, Crouching Tiger.” Given that she sees her body as her prime mode of self-expression, it’s not hard to imagine the trauma she suffered at the age of 16 when her hopes of becoming a ballet dancer were dashed by a back injury. At the time she was studying at London’s Royal Academy of Dance, hoping to become a prima ballerina. “People talk about seeing their dreams shattered, but that really happened to me,” she says. “The doctor asked me, ‘Have you ever PHOTO COURTESY OF THE BRITISH MUSEUM thought of doing something other than dance?’ Suddenly it hit me: he wasn’t joking.” The principal pointed out to Yeoh that ballet was only a small part of dance, and that there were other ways for her to express physicality. Although she couldn’t carry on with her dance degree, Yeoh stayed on at the Royal Academy, studying choreography instead and graduating Egypt’s greatest tomb paintings in 1982 with a BA in creative arts. It is to be hoped that the kindly principal who advised her back then has since A tale of exquisite craftsmanship and a 3,500-year-old tabby cat surrounds ancient Egypt’s greatest got around to renting out The Story of tomb paintings — yet they were created for a middle-ranking official by an unknown artist Stuntwoman Ah Kam (阿金的故事), released in 1996, in which Yeoh falls 5m on to her BY ROBin MCKie head, or Crouching Tiger, Hidden Dragon, THE GUARDIAN, LONDON where her limbs, muscular and graceful, move at such speed they are a constant blur.
    [Show full text]
  • The Conservation and Management Ofthe Tomb of Tutankhamen (KV 62): a Project Bibliography
    Bibliography The Conservation and Management of the Tomb of Tutankhamen (KV 62) A Project Bibliography Edited by Lori Wong The Conservation and Management of the Tomb of Tutankhamen (KV 62) A PROJECT BIBLIOGRAPHY Edited by Lori Wong THE GETTY CONSERVATION INSTITUTE LOS ANGELES © 2013 J. Paul Getty Trust The Getty Conservation Institute 1200 Getty Center Drive, Suite 700 Los Angeles, CA 90049-1684 United States Telephone 310 440-7325 Fax 310 440-7702 E-mail [email protected] www.getty.edu/conservation The Getty Conservation Institute works internationally to advance conservation practice in the visual arts—broadly interpreted to include objects, collections, architecture, and sites. The GCI serves the conservation community through scientifi c research, education and training, model fi eld projects, and the dissemination of the results of both its own work and the work of others in the fi eld. In all its endeavors, the GCI focuses on the creation and delivery of knowledge that will benefi t the professionals and organizations responsible for the conservation of the world’s cultural heritage. CONTENTS The Conservation and Management of the Tomb of Tutankhamen (KV 62) A PROJECT BIBLIOGRAPHYAFT (10 February 2012) ACKNOWLEDGMENTS.......................................................... V INTRODUCTION................................................................ VII CHAPTER 1...................................................................... 1 Background and History 1a. Tutankhamen and his Tomb 1b. Valley of the Kings 1c. 1920s Excavation CHAPTER
    [Show full text]
  • Banquets in Ancient Egypt
    Banquets in Ancient Egypt Sherif Shaban Khalifa1 1. Department of Publications ‐ Information Center, Ministry of Antiquities, 3 Al‐adel Abubakr Street, Zamalek, Cairo, Egypt (Email: [email protected]) Received: 15 July 2014; Accepted: 10 August 2014; Revised: 23 September 2014 Heritage: Journal of Multidisciplinary Studies in Archaeology 2 (2014): 474‐480 Abstract: The elite of the ancient Egyptian society celebrated private affairs by throwing banquets. Besides private affairs banquets were also held to celebrate national and religious occasions. The most significant source to understand these banquets are the scenes painted on the walls of the private tombs at Thebes belonging to the New Kingdom. Besides these depictions, there are references in a few literary texts of the period regarding the conduct of the banquets. A few depictions of banquets of note include those at Nakht TT 52, Neb amun TT 17 and the Userhat TT 65. Through these depictions, we get a fair idea of the lifestyles, drapery, ornaments and objects of daily use amongst the elites during the New Kingdom in Egypt. Keywords: Banquets, Musical Groups, Blind Harpist, Tempera, Tombs, Resurrection, New Kingdom Introduction The elite of the ancient Egyptian society celebrated private affairs, national and religious occasions by throwing banquets. Information regarding the nature and significance of these banquets are limited. The most significant source to understand these activities are the scenes painted on the walls of the private tombs at Thebes datable to the New Kingdom. In addition to these, literary texts of the period also provide useful clues regarding the nature of the banquets and the expected mode of conduct between the host and his guests (Gardiner 1931: 8‐26).
    [Show full text]